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Founded by Al O'Connor in 1973, the steelband program at Northern Illinois University was the first of its kind in the United States. Thanks to the talent and dedication of O'Connor, Cliff Alexis, Liam Teague, Yuko Asada, and a plethora of NIU students and staff members, the program has flourished into one of the most important in the world. Having welcomed a variety of distinguished guest artists and traveled to perform in locales around the US and in Taiwan, Trinidad, and South Korea, the NIU Steelband has achieved international acclaim as a successful and unique university world music program. This fascinating history of the NIU Steelband traces the evolution of the program and engages with broader issues relating to the development of steelband and world music ensembles in the American university system. In addition to investigating its past, Steelpan in Education looks to the future of the NIU Steelband, exploring how it attracts and trains new generations of elite musicians who continue to push the boundaries of the steelpan. This study will appeal to musicians, music educators, ethnomusicologists, and fans of the NIU Steelband.
Founded by Al O'Connor in 1973, the steelband program at Northern Illinois University was the first of its kind in the United States. Thanks to the talent and dedication of O'Connor, Cliff Alexis, Liam Teague, Yuko Asada, and a plethora of NIU students and staff members, the program has flourished into one of the most important in the world. Having welcomed a variety of distinguished guest artists and traveled to perform in locales around the US and in Taiwan, Trinidad, and South Korea, the NIU Steelband has achieved international acclaim as a successful and unique university world music program. This fascinating history of the NIU Steelband traces the evolution of the program and engages with broader issues relating to the development of steelband and world music ensembles in the American university system. In addition to investigating its past, Steelpan in Education looks to the future of the NIU Steelband, exploring how it attracts and trains new generations of elite musicians who continue to push the boundaries of the steelpan. This study will appeal to musicians, music educators, ethnomusicologists, and fans of the NIU Steelband.
Steel Drums and Steelbands: A History is a vivid account of the events that led to the “accidental” invention of the steel drum: the only acoustic musical instrument invented in the 20th century. Angela Smith walks readers through the evolution of the steel drum from an object of scorn and tool of violence to one of the most studied, performed, and appreciated musical instruments today. Smith explores the development of the modern steelband, from its roots in African slavery in early Trinidad to the vast array of experiments in technological innovation and to the current explosion of steelbands in American schools. The book offers insights directly from major contributors of the steelband movement with sections devoted exclusively to pioneers and innovators. Drawing on seven years of research, repeated trips to the birthplace of the steel drum, Trinidad, and interviews with steelband pioneers, Smith takes readers far beyond the sunny associations of the steel drum with island vacations, cruise ships, and multiple encores of “Yellow Bird.” Digging deep into Trinidad’s history—a tale of indigenous extermination and African slavery, of French settlement and Spanish and British colonialism before mid-century independence—Smith weaves an unforgettable narrative of talking drums, kalinda stick fights, tamboo bamboo bands, iron bands, calypso, Carnival, and the U. S. military. Together, all played major roles in the evolution of today’s steelband and in the panman’s journey from renegade to hero in the steelband’s move from the panyards of Trinidad’s poorest neighborhoods to the world’s most prestigious concert halls. The reader will discover how an instrument created by teenage boys, descendants of African slaves, became a world musical phenomena. Steel Drums and Steelbands is the ideal introduction to the steel drum, steelbands, and their history.
This work examines the spread of the steelpan art form within U.S. music education, specifically in schools and universities. This is set within the context of a large Caribbean diaspora, which brought the music and culture to the U.S. This is followed by an in-depth examination into the implications for steel bands and music education going forward. This research includes 'family trees' that illustrate the impact of various programs on the spread of the art form and includes information on one of the earliest U.S. school steel band programs in the concluding case study chapter. The work includes numerous resources for steel band directors and music educators interested in this topic.
The Steelband Movement examines the dramatic transformation of pan from a Carnival street music into a national art and symbol in Trinidad and Tobago. By focusing on pan as a cultural process, Stephen Stuempfle demonstrates how the struggles and achievements of the steelband movement parallel the problems and successes of building a nation. Stuempfle explores the history of the steelband from its emergence around 1940 as an assemblage of diverse metal containers to today's immense orchestra of high-precision instruments with bell-like tones. Drawing on interviews with different generations of pan musicians (including the earliest), a wide array of archival material, and field observations, the author traces the growth of the movement in the context of the grass-roots uprisings of the 1930s and 1940s, the American presence in Trinidad in World War II, the nationalist movement of the postwar period, the aftermath of independence from Britain in 1962, the Black Power protests and the oil boom of the 1970s, and the recession of recent years. The Steelband Movement suggests that the history of pan has involved a series of negotiations between different ethnic groups, socioeconomic classes, and social organizations, all of which have attempted to define and use the music according to their own values and interests. This drama provides a window into the ways in which Trinidadians have constructed various visions of a national identity.
Instrumental Music Education: Teaching with the Musical and Practical in Harmony, 2nd Edition is intended for college instrumental music education majors studying to be band and orchestra directors at the elementary, middle school, and high school levels. This textbook presents a research-based look at the topics vital to running a successful instrumental music program, while balancing musical, theoretical, and practical approaches. A central theme is the compelling parallel between language and music, including "sound-to-symbol" pedagogies. Understanding this connection improves the teaching of melody, rhythm, composition, and improvisation. The companion website contains over 120 pedagogy videos for wind, string, and percussion instruments, performed by professional players and teachers, over 50 rehearsal videos, rhythm flashcards, and two additional chapters, "The Rehearsal Toolkit," and "Job Search and Interview." It also includes over 50 tracks of acoustically pure drones and demonstration exercises for use in rehearsals, sectionals and lessons. New to this edition: • Alternative, non-traditional ensembles: How to offer culturally relevant opportunities for more students, including mariachi, African drumming, and steel pans. • More learning and assessment strategies • The science of learning and practicing: How the brain acquires information • The philosophies of Orff and El Sistema, along with the existing ones on Kodály, Suzuki, and Gordon. • The Double Pyramid of Balance: Francis McBeth’s classic system for using good balance to influence tone and pitch. • Updated information about copyright for the digital age Evan Feldman is Conductor of the Wind Ensemble and Associate Professor of Music at the University of North Carolina at Chapel Hill Ari Contzius is the Wind Ensemble Conductor at Washingtonville High School, Washingtonville, NY Mitchell Lutch is Associate Professor of Music and Director of Bands at Central College in Pella, Iowa
“Maybe you won't like steel band. It's possible. But it's been said that the Pied Piper had a steel band helping him on his famous visit to Hamelin.” When the US Navy distributed this press release, anxieties and tensions of the impending Cold War felt palpable. As President Eisenhower cast his gaze towards Russia, the American people cast their ears to the Atlantic South, infatuated with the international currents of Caribbean music. Today, steelbands have become a global phenomenon; yet, in 1957 the exotic sound and the unique image of the US Navy Steel Band was one-of-a-kind. Could calypso doom rock 'n' roll? Band founder Admiral Daniel V. Gallery thought so and envisioned his steelband knocking “rock 'n' roll and Elvis Presley into the ash can.” From 1957 until their disbandment in 1999, the US Navy Steel Band performed over 20,000 concerts worldwide. In 1973, the band officially moved headquarters from Puerto Rico to New Orleans and found the city and annual Mardi Gras tradition an apt musical and cultural fit. The band brought a significant piece of Caribbean artistic capital—calypso and steelband music—to the American mainstream. Its impact on the growth and development of steelpan music in America is enormous. Steelpan Ambassadors uncovers the lost history of the US Navy Steel Band and provides an in-depth study of its role in the development of the US military's public relations, its promotion of goodwill, its recruitment efforts after the Korean and Vietnam Wars, its musical and technological innovations, and its percussive propulsion of the American fascination with Latin and Caribbean music over the past century.
Steel Drums and Steelbands: A History is a vivid account of the events that led to the “accidental” invention of the steel drum: the only acoustic musical instrument invented in the 20th century. Angela Smith walks readers through the evolution of the steel drum from an object of scorn and tool of violence to one of the most studied, performed, and appreciated musical instruments today. Smith explores the development of the modern steelband, from its roots in African slavery in early Trinidad to the vast array of experiments in technological innovation and to the current explosion of steelbands in American schools. The book offers insights directly from major contributors of the steelband movement with sections devoted exclusively to pioneers and innovators. Drawing on seven years of research, repeated trips to the birthplace of the steel drum, Trinidad, and interviews with steelband pioneers, Smith takes readers far beyond the sunny associations of the steel drum with island vacations, cruise ships, and multiple encores of “Yellow Bird.” Digging deep into Trinidad’s history—a tale of indigenous extermination and African slavery, of French settlement and Spanish and British colonialism before mid-century independence—Smith weaves an unforgettable narrative of talking drums, kalinda stick fights, tamboo bamboo bands, iron bands, calypso, Carnival, and the U. S. military. Together, all played major roles in the evolution of today’s steelband and in the panman’s journey from renegade to hero in the steelband’s move from the panyards of Trinidad’s poorest neighborhoods to the world’s most prestigious concert halls. The reader will discover how an instrument created by teenage boys, descendants of African slaves, became a world musical phenomena. Steel Drums and Steelbands is the ideal introduction to the steel drum, steelbands, and their history.
The Encyclopedia of Percussion is an extensive guide to percussion instruments, organized for research as well as general knowledge. Focusing on idiophones and membranophones, it covers in detail both Western and non-Western percussive instruments. These include not only instruments whose usual sound is produced percussively (like snare drums and triangles), but those whose usual sound is produced concussively (like castanets and claves) or by friction (like the cuíca and the lion’s roar). The expertise of contributors have been used to produce a wide-ranging list of percussion topics. The volume includes: (1) an alphabetical listing of percussion instruments and terms from around the world; (2) an extensive section of illustrations of percussion instruments; (3) thirty-five articles covering topics from Basel drumming to the xylophone; (4) a list of percussion symbols; (5) a table of percussion instruments and terms in English, French, German, and Italian; and (6) an updated section of published writings on methods for percussion.